ed, and the pictures are now
divided and separately framed. The first represents "The Birth of the
Virgin," the second "The Presentation," and the last "The Marriage."
"The Presentation" is the finest in composition and general effect, and
contains very stately figures of Joachim and Anna, with splendidly
draped robes, and behind them a fine austere landscape. All three
pictures are broadly painted and swept in in the usual impressionistic
manner.

FOOTNOTES:

[67] Vasari, iii. 686.

[68] See p. 10.

[69] Vasari, iii. 70. Commentario.

[70] See Chronological Table, p. 127.

[71] Vischer, p. 259.

[72] For these notices see Anselmi's monograph, "A proposito della
classificazione dei monumenti nazionali nella provincia d'Ancona."
(Foligno, 1888), p. 35. Also quoted by Cavalcaselle e Crowe, viii. p.
480.

[73] Vasari, iii, 686.

CHAPTER VII

LAST WORKS

We have now considered in detail most of the important works of
Signorelli's early manhood and maturity, and up to his seventy-fourth
year have found him, both in conception and execution, still maintaining
a high standard of excellence, and at an age when the life's work is
supposed to be over showing but little sign of failing powers. On the
contrary, he seems to have gained ground in certain things most
characteristic of his technical ability--in a rugged strength of
modelling, in facility of drawing and freedom of brushwork, and
particularly in that mastery of united movement, which it seemed his
special desire to attain. Even in this last group of paintings which we
have now to consider the mind works as powerfully, and the subjects are
conceived with the same impressive grandeur, as before, and only in one
or two instances can it be noticed that the hand does not always respond
so readily to the purpose.

In the "Madonna and Saints," of the Mancini collection, Citta di
Castello, a slight technical falling off is apparent, although it is
possible that this may be due to the assistance of pupils. Its history
would seem, however, to point to its being the unaided work of
Signorelli; but, as we have already seen, documentary evidence is by
no means infallible. In the archives of Montone, a little town near
Umbertide, a deed, dated September 10, 1515, was discovered, which
speaks of an altar-piece presented by the master as a free gift to a
certain French physician, Luigi de Rutanis, in gratitude "for services
rendered, and for those which he hop